Can an exhibition structured historically extend its reach to the very recent past without losing its scholarly legitimacy in favor of offering a reflection on contemporaneity? Can it adhere to a sense of the present better than an exhibition focused on more recent work? The answers are yes and yes, as proven by “The Small Utopia. Ars Multiplicata,” promoted by the Fondazione Prada and curated by Germano Celant. Installed at the Ca’ Corner della Regina in Venice, this large-scale show reminds us that, in the modern era of art’s technical reproducibilityhere defined as the period from the dawn of the twentieth century through 1975and the loss of the aura of uniqueness that has traditionally distinguished it, the creative output of an artist can be multiplied democratically without losing its fundamental semantic and aesthetic value. On the contrary, this value could be